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K004 Two Melodies

deutsch K004 Zwei Lieder

K4 Zwei Lieder

von I. Strawinsky [für eine Singstimme (Mezzo-Sopran) und Klavier Op. 6] nach Worten von Serge Gorodetzky – Два романса на слова Сергђя Городецкаго – Deux mélodies pour chant et piano Op. 6 – Two melodies (op. 6) for mezzo-soprano and piano. Words by S. Gorodetzky – Due Canti per voce e pianoforte su parole di Gorodetzky, op. 6

* These two songs originally appeared in separate books with a German title, and with a Russian-German header on the first page page of the score without a main title.

Summary: The first song concerns the young daughter of a bell ringer, who, after the death of her boyfriend, has decided in her sorrow to give up worldly life and freedom and to enter a convent, while a new rich life is blossoming all around her in the tolling of the Easter bells. – The second song portrays a group of girls who are waiting in the hope of becoming brides before nightfall with cultic rites such as the gathering of dewdrops and the gentle beating of branches, while in the dark hut next door sits a crowing cock. In the end, they break out into rejoicing. The Angel for whom they are waiting has come, and invites them to praise God from now on.

Source: Both texts are taken from the collection of poems, Jar (Ярь), published in 1907, by the Symbolist poet Serge Gorodetzky who was very well known in Russia and he enjoyed great recognition in Soviet Russia until his death in 1967. Gorodetzky, born in 1884, had study to Slavonic in St Petersburg and in 1904 had travelled as a student for the purposes of study to Pleskau on Lake Peipsi in north-west Russia on the border of Estonia. He experienced a connection to the age-old customs and rites of the people there, who were at that time little-known and almost prehistoric in their life. He gave himself up entirely to the fascination of this experience and as a result wrote this set of poems, which made him one of the leading Symbolist Russian poets overnight. Everything that Strawinsky knew about the Scythians, heathen rites, the goddess Jarila, about the living on ancient heathen tradition in a Christian vicinage that it benamed paganism and other things that would become useful for the Sacre du Printemps, came from Gorodetzky’s book Jar. This would lead to the crystallisation of a new mythological trend and revelation for those who lost (regarded from outside) the connection to Christiannity, without becoming an atheist, an issue which was also relevant for Strawinsky at this point in time. It seemed as though the message announced by the Jar would begin to fill the religious vacuum in the revolutionary Russian intelligence. There are three poems about Spring in the collection. Two of them concern Spring and the contrast between city and countryside. – The third poem that Strawinsky chose and which was also set to music, written by Gorodetzky on 15th April 1906 to great acclaim, as seen from the subsequent settings by Vsevolod Bagadanov (1907), Vladimir Pol (1910) and Dmitri Sernov (1915), was neither paganistic nor new-heathen, but deeply Christian and was based on thoughts of self sacrifice of one person for another. The young daughter of the bell-ringer has lost her friend. She turns to no one else, but does neither go to the convent as a result of an unhappy or unfulfilled life, rather she goes in order to pray for the soul of her friend, not without being unhappy about what she has given up. The symbol for this is the Good-Friday candle. Gorodetzky only suggested these references in order to construct a poem out of the story. – The second poem is for all his dark colours less cryptic. It seems to concern itself with one of the many female rites which ar5e carried out differently and with varying levels of seriousness all over in the world, using inherited rituals to swear oneself to a certain man who will arrive soon. The Russian words for dewdrops (Росянка) appears above the poem, and the subtitle is only translatable by means of an analogy. Хлыстовская essentially means ‘Song of the Chlysty’. ‘Chlysty’ is a general term for a group of sects which were created centuries ago and, despite being persecuted, continued to perform their rituals alongside Orthodox Christianity. Linguistically, the name appears to derive from the Russian word for whips, хлестать, which points to the practice of flagellation, which is referred to in the poem as a gentle beating of birches. Another possibility is that there was a misunderstanding in the language, i.e. ‘Chlysty’ = ‘Christi’, especially as the Russian word Хлысты does not begin with the letter K (К), but with Ch (Х) and the ethnology tells us that the Chlysty did not practise flagellation, rather as one of the Whitsun sects, they believe in a continually reincarnated Christ. Much can be read into and extrapolated from this poem without the references being explicit. Some have gone so far in their interpretation, presumably inspired by the title, as to interpret the poem not as a woman’s song, rather a man’s song, or even the song of a monk. Strawinsky would certainly have given this very little attention. It was presumably the Christian hymn-ending which prompted him to set this as the final poem, something which he may always have inferred from it for himself. In any case, the composition reaches a climax in this short final call.

Translations: With the translation of the Gorodetzky songs into German, French and English, began a dispute which continued until the end of Strawinsky’s life concerning the correct translation of the vocal compositions into the three culturally leading European languages, which Strawinsky had mastered sufficiently to be able to judge the standard of the translations. Since his texts, including the preliminary sections, were always enigmatic and in the case of the Pribaoutki, only translatable by suggestion, at the translations, if they were to become meaningful, had to be adapted in agreement with him (or with the poet himself) in order to achieve the correct meaning. The names of two translators appear again and again in the early period of Strawinsky’s composition: Charles-Ferdinand Ramuz, who knew no Russian and had to be assisted by Strawinsky for the word-for-word translation, and the polyglot Michel-Dimitri Calvocoressi, who came from Greece, and who played a leading role in Paris until 1914 and had much more than a loose connection with Strawinsky. None of their translations was ever truly free from mistakes, because it is almost impossible to translate the meaning word-for-word on the correct notes and also retain the verse and rhyme structure. This was no small matter for the translations of the Russian Gorodetzky songs into English and French and even begins with the title. Calvocoressi translates Росянка with the English word, ‘Dew’, which should actually be ‘Dewdrop’, and in French is ‘La rosée sainte’, ‘the holy dew’, which should in any case be exactly translated as ‘La goutte de rosée.’ Calvocoressi follows here using the German as precedent, ‘Der Heilige Tau’. This immediately begs the question as to how the translator came to use the term ‘heilig’, which is not mentioned explicitly in the original but is rather implied, and why he did not use it for the English translation. The translator must also have had a knowledge of the background of the mythological and paganistic. The name of the language and translation genius, Calvocoressi, is on the German editions as a translator for the German. In this case, the German translation contains so many contemporaneous, unusual and outmoded specialised words in such an unusual grammatical syntax, for example the word ‘frömmig’ instead of ‘fromm’ (not to be confused with ‘frömmlerisch’, meaning pretentiously pious), that one could easily believe that the translator must have come from Germany and in addition have had an extremely thorough and profound knowledge of the language (like Calvocoressi) and of the necessary background to be able to translate it in the manner he did. From time to time, some have even maintained that the translator was Gorodetzky himself, which would explain the close correlation to the meaning of the Russian original; it is however assumed that Gorodetzky could not speak any German. Whatsoever they refer to the pagan a practice of flagellation amongst the Chlysty: in the poem, no such flagellatory action, which is a masochistic act against oneself and not against other people for the creation of pain, is portrayed, rather a magic ritual for fertility in the form of gentle strokes, which has been recognised as a ubiquitous rite for fertility even to the practice of the light whippings in the Carnival at the Rhine which gradually dies out. The only person who knew exactly of this ritual at the time was Gorodetzky himself, as he had studied it over a long period of time in Pleskau.

Construction: These are two works with different opus numbers: songs for piano with respective pre-, inter-and postlude indications, 4/4 (first song) and 2/4 (second song) bars throughout without changing metre, and with Italian tempo and German expression markings. The first song has a range from C sharp1 to E2 and is, in keeping with the poem, in three parts; the first part is repeated as the third part. In the first and third sections, there is no key signature, but the overriding key area is E flat minor. The tempo markings are also arranged in a three-part form. – The second song is formally constructed A-B-A1 and the choice of key areas corresponds to the form of the text, but with different points of focus.

Structure

[I]

Весна. (Монаcтырская)*

Die Novize (Lenzlied)*

Chanson de printemps (La Novice)*

Spring (The Cloister)*

Allegro alla breve Minim = 60

  (39 bars without key signature = bar 1–39)

Molto sostenuto Viertel = 54

  (40 bars 1 sharp in the key signature = bar 40–79)

Tempo I.

  (37 bars without key signature = bar 80–116)

[II]

Росянка. (Хлыстовская).*

Der heilige Tau (Gesang der Geissel-Brüder)*

La rosée sainte (Chant mystique des Voeux-Croyants Flagellants)*

A Song of the Dew (Mystic Song of the Ancient Russian Flagellants)*

Larghetto Crotchet = 50

  (50 bars ** 2 sharps in the key signature = bar 1–50)

Più mosso Crotchet = 39***

  (19 bars 2 sharps in the key signature = bar 51–69)

  (15 bars without key signature = bar 70–84)

Allegro Crotchet = 100

  (11 bars without key signature = bar 85–95)

Larghetto Crotchet = 50

  (9 bars without key signature = bar 96–104)

Allegro Crotchet = 100

  (18 bars 2 sharps in the key signature = bar 105–122)

* Originally, the main title is in lowercase apart from the starting letters, but in substantially bigger font, while the subtitle, originally in brackets, is uppercase, but printed in substantially smaller font.
** Including the upbeat, which is not balanced out at the end.
*** This marking must be a printing or content error. Strawinsky always calculated using the tempo scale Mälzel’s metronome (M. M.), which gives certain gradations from 40 to 208. There is no 39 on Mälzel’s metronome.

Style: Both songs are self-standing compositions, despite their dependency on contemporary Russian techniques such as the alternation of sung recitative and melody including the bell motif, they are defined by their style as being in the freer manner of composition of the French composers. –

The first song begins with a piano introduction containing a bell motif, which is present throughout most of the work. While the sung line is partly declaimed and partly melodically fragmented, the characterisation of the text is achieved through the voice part and the accompaniment. In the final six bars of the song, the sung line reaches its lowest note so far (E1), which has not yet been used, and leaves the upper middle register, which has until that point been the preferred register, in order to sink to c1. Regarding Strawinsky’s humour, which is always an important part of his work, the low-register does not represent the cheerless cloister gate, rather the ‘bass’ voice of the Abbotess who orders the cleaning. The melody is made up exclusively of major and minor thirds, which appear 68 times in the space of 75 bars. Deviations in the text lead to deviations in the melody. Chromatic twistings are taken from the text and emerge as much as an expression of sorrow as a characterisation of the flickering candle flame. The stronger the sorrow and yearning of the neophyte becomes, the thicker the chordal quaver movement becomes. When her situation seems to be hopeless, the piano part switches into stasis after a short excited section. The vocalise after the prayer for peace for her soul enters without piano accompaniment floating freely in the space: nothing should disturb the peace and the loneliness of the young lady any more. –

In the second song, with a range E1-F#2, Strawinsky’s humour once again comes across. Here, the characterisation lies entirely in the piano accompaniment. The handling of the tempo is many-layered and rich in contrast. Dewdrops must be gathered carefully, so he slows down the flow of the melody. Strawinsky divides the song into ten sections, which are differently characterised, but can also be motifically identified at comparable points. The ‘long lurking’ (Стосковались) of bars 37–38 uses the same notes as the feeling of ‘eager waiting’ (Уморились) of bars 45–46. When tresses are plaited or dewdrops are gathered, the melody, so far syllabic throughout, changes to semiquaver melismas which depict bowls. The beating with the birches is portrayed by the upbeats. The cock crows of course when he stands on one leg, seen in the piano descant in bar 83. The chordal movement becomes stiff, when the empty grey empty hut is described, with the melody impulsively rising up when the Angel is mentioned. Each new indication in the text sees a different style of accompaniment and technique of playing. The work climaxes in the Allegro section at bar 105. The eagerly awaited angel has finally come and casts his shadow over the girls, at which point the piano has a fluttering figure, and the poet invites us to praise God. Strawinsky at this point gives again a German, but orthographically incorrect, instruction to the singer, ‘In Extase’ [correct: ‘Ekstase’]. The second song ends in ecstasy, in religious rapture.

Dedication: 1. Lied: Елизавете Феодоровне Петренко. [Jelisaweta (Elisabeth) Feodorowna Petrenko]; 2. Lied: Сергею Городецкому. [Serge Gorodetzky].

Duration: between 8′ and 10′.

Date of origin: First song: Spring 1907 in St. Petersburg started and finished 18th June 1907 in Ustilug; Second song: in summer 1908 in Ustilug.

First performance: The exact dates of the premieres appear to be known only for the first song. According to this, the work was premiered privately on 31st October 1907 at Rimsky-Korsakov’s house in St Petersburg by Igor Strawinsky, who simultaneously sung and played the piano; in any case, it was performed on 25th December 1907 at Rimsky’s house in the manner of a semi-public performance at which Strawinsky played the piano and Rimsky’s daughter Nadeshda sang. The public premiere took place in one of the St Petersburg winter concerts in a room at the Conservatory, in the series of the evening concerts for contemporary music. Once again, Strawinsky played the piano but this time, the singer was the Mezzo-soprano Elizabeth Petrenko.

Remarks: The details of the composition of the work are not known. The dates can be inferred from those found on Strawinsky’s score and the unfriendly notes in Jastrebtschev’s diary. Apart from this, Strawinsky kept quiet about it, and did not refer later to the songs in any way or accompany them himself, and the only comments he gave were to Gorodetzky in person, which seem to have been slightly derisive.

Situationsgeschichte: In his remembrance of the comments of Rimsky-Korsakov on the first song, the bell motif plays an important role. Gorodetzky wanted actual ringing to make an aural identification with the heavy bell tolls of the Orthodox Church but saw Strawinsky’s composition rather as a tinkling, which annoyed him and other people. Rimsky-Korsakov however understood the bell tolls as playing the role of an aural motif divorced from any mystical background; just like in the antagonistic conflict with Balakirev, which was starting to become militant, the use of Russian folksong was certainly not a pan-Slavistic political utterance, but simply the adoption of a beautiful melodic model which could be incorporated into compositions and valued solely in an artistic way. The Strawinsky literature has also been employed on the bell tolls, and in them has seen the first meaningfully accented bell motif, which has been carried through many of Strawinsky’s compositions. Strawinsky’s bell motif, which makes up the accompaniment of the song, should probably be interpreted differently. The poet Gorodetzky does not only speak of the tolling of the bells, but also of the moaning and the echo of bells; in this, he comes close to the Christian symbolism of bells, according to which the bell is the voice of God which should echo in mankind. Strawinsky presumably did not intend an actual ringing, but rather the echo of bells in the heart of the girl, who the poet intentionally describes as the daughter of a bell-ringer. It is therefore not a mythological reality which is conjured up, rather a Christian reality which can be construed from the poem, and which must have caused the greatest misgivings from Rimsky-Korsakov, who hated all metaphysical connections. Rimsky’s opinions on the song, which have only been delivered by Jastrebtschev, can be interpreted in such a way, that they are not against the composition, but are directed first and foremost against the poem. Gorodetzky, in the opinion of the esteemed Russian intelligentsia, was seen to be making the idea of the mythical sect fashionable, an idea which was seen as out of date and in any case was associated with Scriabin’s circle and Madam Blawatzki. Second, the critic turns himself against Strawinsky, whose unresolved chords depend too much on Debussy, even when he differs melodically very little from the Russian practice of declamation fashionable at the time. Jastrebtschev delivers that Rimsky-Korsakov made his remark after a concert on 25th December 1907: “What sort of joy can one gain from composing music to texts in such an artificial Russian folk-speech? For me, this ‘lyrical Impressionism’ is a contemporary decadence. It is full of fog and obfuscation, but contains no ideas.” From his own point of view, Rimsky’s criticisms of Strawinsky were clear-sighted and correct. Strawinsky did not work with self-referential forms and did not compose in an already established manner. Rimsky would have seen this in his pupil if he had been successful with it. It still remains inexcusable that Strawinsky unequivocally re-interpreted Gorodetzky’s mystical background as Christian and allowed the entire thing to climax into a call to belief. For Rimsky that must have been a turning point which brought everything into question for which he signed himself. Whether these acts destroyed their relationship is rather doubtful, since Rimsky remained Strawinsky’s adviser to the very last. Furthermore, it has been shown that Nadeshda Rimsky-Korsakov sang Strawinsky’s song at home to her great pleasure without her father forbidding it, and pleased by this, Strawinsky dedicated his Pastorale to her, a piece which is in no way modernist. One can conclude from this, that Nadeshda liked to sing the vocalise from the Gorodetzky Song, a piece for which her voice was not big enough to sing in the performances which remained assigned to Petrenko. The relationship between the two must also have been good before it was worsened because of her husband to such an extent that the daughter refused as an old lady on the occasion of his visit to the Soviet Russia 1962 to see her former friend again even after 50 years.

Significance: Both the songs are from importance in regard to Strawinsky’s development and mark the point of his departure from the influence of Rimsky-Korsakov’s circle.

Versions: The two songs were published in 1912 by Jurgenson in Moscow with a German main title and a Russian-German sung text, according to the custom of the publishers at that time for single books. A parallel French-English edition came after this. It must presumably have been published in 1912, but before 1914 and at the latest before 1917. This is suggested by the older spelling ‘Thalstr.’ Instead of ‘Talstr.’, as well as the statement of the legal information including the coat of arms of the publisher. This edition was redesigned in 1922 by Forberg in Leipzig, who owned the publishing rights. The Library of the British Museum registered the entry with the date 22nd August 1922. The lack of success of the two songs meant that there were no further editions. As part of the systematic illegal printings of all Strawinsky’s works in Russia, the two Romances were included in a 54-page volume of songs that was published in 1968, but true to the regime, it only reproduced the non-serial songs from the time up to Mavra (1969 Ist/IInd song: Musyka Moscow publishers; in: ИЗБРАННЫЕ ВОКАЛЬНЫЕ СОЧИНЕНИя для голоса с фортепиано; 54 pages. 27.7 x 28.8 (4° [Lex. 8°]); pl. no. 5823; p. 3–12). It is further specific to this edition, that there is no German and English translation and only the Russian and French texts are printed; these had to be especially combined for the first time because there was originally no Russian-French edition of the Gorodetzky songs. The two songs were published either in Russian and German or in French and English, but not in Russian and French.

Historical recording: not verified.

CD-Edition: not included.

Autographs: Both autograph scores seem to be missing.

Copyright: originally also in the Forberg reprint of 1922 without Copyright marks. The declaration of copyright of 1908 by Rob. Forberg which can be found in later Boosey & Hawkes editions, was first entered after 1953, when Boosey & Hawkes took over the rights to the two songs from Forberg (Copyright assigned 1953 to Boosey & Hawkes Ltd., for all countries.).

Editions

a) Overview

4–1 (1912) [1st song]; R-G; Jurgenson Moskau; 11 pp.; 33364.

4–2 (1912) [2nd song]; R-G; Jurgenson Moskau; 9 pp.; 33365.

4–3 [1917] [1st song]; E-F; Jurgenson Moskau; 11. pp.; 36199.

4–3Straw ibd.

4–4 [1917] [2nd song]; E-F; Jurgenson Moskau; 9 pp.; 36200.

4–4Straw ibd.

4–5 [1917] [1st song]; R-G; Jurgenson Moskau; [unidentified; s. 4–6].

4–6 [1917] [2nd song]; R-G; Jurgenson Moskau; 33365.

4–7 (1922) [1st song]; R-G; Jurgenson-Forberg Moskau-Leipzig; 11 pp.; 36199.

4–8 (1922) [2nd song]; R-G; Jurgenson-Forberg Moskau-Leipzig; [unidentified; s. 4–7].

4–9 1968 [1st song]; E-F; Boosey & Hawkes; 11 pp.; 19645.

4–9[65] [1965] ibd.

4–10 (1968) [2nd song]; E-F; Boosey & Hawkes; 9 pp.; 19646.

4–10[65] [1965] ibd.

4–11 (1968] [1st song]; R-G; Boosey & Hawkes; 9 pp.; B. & H. 19647.

4–12 (1968) [2ndsong]; R-G; Boosey & Hawkes; 7 pp.; B. & H. 19648.

4–13Alb 1968 [1st/2nd song] R-F; Musyka Moskau; 7 pp.; 5823.

b) Characteristic features

4–1 Zwei Lieder von I. Strawinsky. / [°] / ДВА РОМАНСА / на слова Сергђя Городецкаго. / [vignette] / Весна (Монастырская)* / No 1. {** [#] }*** 75 к. / Die Novize (Lenzlied) / Росянка (Хлыстовская)* / " 2. {** [#] }*** 60 " / Der heilige Tau (Gesang / der Geissel-Brüder) / Музыка / И. Стравинскаго. / Op. 6. / Aufführungsrecht vorbehalten. / [vignette] / Собственность издателя / П. Юргенсона, въ Москвђ. / С.-Петербургь, у I. Юргенсона. / Варшава и Кiевъ, у Л. Идзиковскаго. // (Edition [library binding] 27 x 35 (2° [4° / gr. 4°]); sung text Russian-German; 11 [9] pages + 2 pages front matter [ornamental front cover title in a frame on yellow 17 x 25.8, dark blue on cream white and the lines at the edge in the Empire style with vignette 1.3 x 1.4 flower bloom 0.7 x 0.7 crowned double eagle with a medallion at the centre, empty page] + 1 page back matter [page with publisher’s advertisements >Собранiе новђйшихъ романсовъ русскихъ композиторовъ. IV.<**** production data >1909 ã.<]; title head as song title Russian-German >Весна. [#] Die Novize / (Монастырская). [#] (Lenzlied)<; dedication above title head centre italic >Елизаветљ Феодоровнљ Петренко.<; authors specified 1st page of the score paginated p. 3 below title head centre centred >Слова С. Городецкаго.<[#] >Worte von S. Gorodezky.< / >Музыка И. СТРАВИНСКАГО.< [#] >Op. 6. No 1.< [#] >Musik von I. STRAWINSKY.<; translator specified 1st page of the score below author specified flush left italic >Uebersetzung von M.-D. Calvocoressi.<; legal reservation without Copyright 1st page of the score above type area next to translator specified centre underlined >Aufführungsrecht vorbehalten.<; plate number >33364<; end of score dated p. 11 >Oustiloug. 1907.<; production indications 1st page of the score below type area flush left >Собственность издателя< flush right >П. Юргенсона въ Москвђ.<, S. 11 flush right as end mark >Злектропечатня нотъ [vignette*****] П. Юргенсона въ Москвђ.< ) // (1912)

° Dividing horizontal line (wavy line) of 3.9 cm.
* Fill character (dotted line).
** Between the preceding and the following line, it has moved to the left with a left bracket spanning of two line (.
*** Between the preceding and the following line, it has moved to the left right a right bracket spanning of two line }.
**** Compositions are advertised in two columns with price information behind fill character (dotted line) by >Покрошинская, М., Поль, В., Привано, Г., Рачинскiй, И., Рейтернъ, О., Ренчицкiй, П., Сениловъ, В., Сибелiусъ, Ж.<; Strawinsky not mentioned.
***** Crowned double eagle 0.5 x 0.7 with a medallion at the centre.

4–2 Zwei Lieder von I. Strawinsky. / [°] / ДВА РОМАНСА / на слова Сергђя Городецкаго. / [vignette] / Весна (Монастырская)* / No 1. {** [#] }*** 75 к. / Die Novize (Lenzlied) / Росянка (Хлыстовская)* / " 2. {** [#] }*** 60 " / Der heilige Tau (Gesang / der Geissel-Brüder) / Музыка / И. Стравинскаго. / Op. 6. / Aufführungsrecht vorbehalten. / [vignette] / Собственность издателя / П. Юргенсона, въ Москвђ. / С.-Петербургь, у I. Юргенсона. / Варшава и Кiевъ, у Л. Идзиковскаго. // (Edition [library binding] 27 x 35 (2° [4° / gr. 4°])); sung text Russian-German; 9 [7] pages + 2 pages front matter [ornamental front cover title in a frame on yellow 17 x 25.8, dark blue on cream white and the lines at the edge in the Empire style with vignette 1.3 x 1.4 flower bloom 0.7 x 0.7 crowned double eagle with a medallion at the centre, empty page] + 1 page back matter [page with publisher’s advertisements >Собранiе новђйшихъ романсовъ русскихъ композиторовъ. IV.<**** production data >1909 ã.<]; title head as song title Russian-German >Росянка. [#] Der heilige Tau. / (Хлыстовская). [#] (GESANG DER GEISSELBRÜDER)<; dedication above title head centre italic >Сергљю Городецкому.<; author specified 1st page of the score paginated p. 3 below title head centre centred >Слова С. Городецкаго.< [#] >Worte von S. Gorodezky.< / >Музыка И. СТРАВИНСКАГО.< [#] >Op. 6. No 2.< [#] >Musik von I. STRAWINSKY.<; translator specified 1st page of the score below author specified flush left italic >Uebersetzung von M.-D. Calvocoressi.<; legal reservation without Copyright 1st page of the score above type area next to translator specified centre underlined >Aufführungsrecht vorbehalten.<; plate number >33365<; end of score dated p. 11 >Oustiloug 1908.<; production indication 1st page of the score below type area flush left >Собственность издателя< flush right >П. Юргенсона въ Москвђ.<, S. 11 flush right as end mark >Злектропечатня нотъ [vignette*****] П. Юргенсона въ Москвђ.< ) // (1912)

° Dividing horizontal line (wavy line) of 3.9 cm.
* Fill character (dotted line).
** Between the preceding and the following line, it has moved to the left with a left bracket spanning of two line (.
*** Between the preceding and the following line, it has moved to the left right a right bracket spanning of two line }.
**** Compositions are advertised in two columns with price information behind fill character (dotted line) by >Покрошинская, М., Поль, В., Привано, Г., Рачинскiй, И., Рейтернъ, О., Ренчицкiй, П., Сениловъ, В., Сибелiусъ, Ж.<; Strawinsky not mentioned.
***** Crowned double eagle 0.5 x 0.7 with a medallion at the centre.

4–3 I. STRAWINSKY. / MÉLODIES. / SONGS. / 1 1. }* / La Novice. Chanson de printemps. / Spring. The Cloister** }° 75 c. / „ 2. }* / La rosée sainte** / A song of the dew.** }° 60 „ / Op 6. / [***] / [vignette] / Propriété de l’éditeur / P. JURGENSON, / Commissionaire de la Chapelle de la Cour, de la Société Impériale / Musicale Russe et du Conservatoire à Moscou / [#***] / MOSCOU, [#****] LEIPZIG, / Neglinny pr. 14. [#****] Thalstr. 19. / St.-Pétersbourg, chez J. Jurgenson | Varsovie & Kiew, chez I. Idzikowski. / Sole Agents for he British Empire / Breitkopf & Härtel, London. // (Edition thicker paper light blue on cream without binding 27.1 x 34.3 (2° [4°]); sung text English-French; 11 [9] pages + 2 pages front matter [front cover title in mirror-like ornamental frame 12.7 x 19 with publisher’s emblem 0.7 x 0.7 of a coat of arms; empty page] + 1 page back matter [empty page]; title head as separate section with the title of the song in English and French and the author and translator specified centrally formatted and in the centre partly in italics >Spring. [#] La Novice. / The Cloister [#] Chanson de printemps / Words by S. Gorodetski. [#] Paroles de S. Gorodetski. / English words by M. D. Calvocoressi. [#] Paroles françaises de M. D. Calvocoressi. [#] Music by I. STRAVINSKY. [#] Op. 6. No 1. [#] Musique de I. Strawinsky.<; without dedication; legal reservations without Copyright 1st page of the score unpaginated [S. 3] below title head underlined centre >Aufführungsrecht vorbehalten.< below type area flush left >Propriété de l’éditeur< flush right >P. Jurgenson à Leipsic et Moscou.<; plate number >36199<; end of score dated p. 11 >Oustiloug. 1907.<; production indication p. 11 flush right as end mark >Gravé et imp. Chez [****] P. Jurgenson à Moscou.<) // [1917])

° The price statement has moved to the right between the French and English texts with a right-facing bracket that spans both lines.
* The number statement has moved to the left between the French and English texts with a right-facing bracket that spans both lines.
** Fill character (dotted line).
*** Ornament 2.2 x 0.2
**** Dividing ornament 0.2 x 0.5 spanning two lines.
***** Dividing vignette 0.6 x 0.7 coat of arms.

4–3Straw

Strawinsky’s copy contains a hardly legible stamp, majorisation presumably 4 Frs.

4–3Straw

Strawinsky’s copy is not signed or dated and contains a hardly legible stamp (at the bottom of the page flush right majorisation presumably 4 Frs.) and a correction [p.2, bar 3, 4th system, piano descant: 3rd quaver ligature 2nd note b instead of d.

4–4Straw

S

trawinsky’s copy is not signed or dated and contains a hardly legible stamp (at the bottom of the page flush right majorisation presumably 3 Frs.). The copy is without correction.

4–4 I. STRAWINSKY. / MÉLODIES. / SONGS. / 1 1. }* / La Novice. Chanson de printemps. / Spring. The Cloister** }° 75 c. / „ 2. }* / La rosée sainte** / A song of the dew.** }° 60 „ / Op 6. / [***] / [vignette] / Propriété de l’éditeur / P. JURGENSON, / Commissionaire de la Chapelle de la Cour, de la Société Impériale / Musicale Russe et du Conservatoire à Moscou / [#***] / MOSCOU, [#****] LEIPZIG, / Neglinny pr. 14. [#****] Thalstr. 19. / St.-Pétersbourg, chez J. Jurgenson. | Varsovie & Kiew, chez I. Idzikowski. / Sole Agents for he British Empire / Breitkopf & Härtel, London. // (Edition thicker paper light blue auf cream [library binding] 26.8 x 34.3 (2° [4°])); sung text English-French; 9 [7] pages + 2 pages front matter [front cover title in mirror-like ornamental frame 12.7 x 19 with publisher’s emblem 0.7 x 0.7 of a coat of arms; empty page] + 1 page back matter [empty page]; title head as a separate section with the title of the song in English and French and the author and translator specified centrally formatted and in the centre partly in italics >A song of the dew. [#] La rosée sainte. / (Mystic Song of the [#] (Chant mystique des / ancient Russian Flagellants) [#] Vieux-Croyants Flagellants) / Words by S. Gorodetsky. [#] Paroles de S. Gorodetsky. / English words by M. D. Calvocoressi. [#] Paroles françaises de M. D. Calvocoressi. [#] Music by I. STRAVINSKY.°° [#] Op. 6. No 2. [#] Musique de I. Strawinsky. <°°; dedication above title head centre italic >A Mr Serge Gorodetsky.<; legal reservation without Copyright 1st page of the score unpaginated [p. 3] below title head underlined centre >Aufführungsrecht vorbehalten.< below type area flush left >Propriété de l’éditeur< flush right >P. Jurgenson à Leipsic et Moscou.<; plate number >36200<; end of score dated p. 9 >Oustiloug. 1908.<; production indication p. 11 flush right as end mark >Gravé et imp. Chez [****] P. Jurgenson à Moscou.<) // [-1917]

° The price statement has moved to the right between the French and English texts with a right-facing bracket that spans both lines.
°° Original spelling.
* The number statement has moved to the left between the French and English texts with a right-facing bracket that spans both lines.
** Fill character (dotted line).
*** Ornament 2.2 x 0.2
**** Dividing ornament 0.2 x 0.5 spanning two lines.
***** Dividing vignette 0.6 x 0.7 coat of arms.

4–5 [unidentified; s. 4–6].

4–7 I. STRAWINSKY. / MÉLODIES. / SONGS. / ¹ 1. }* / La Novice. Chanson de printemps. / Spring. The Cloister** / „ 2. }* / La rosée sainte** / A song of the dew.** / Op 6. / [°] / P. JURGENSON [#***] ROB. FORBERG / MOSCOU [#***] LEIPZIG / Neglinny pr. 14. [#**] Talstr. 19. // (Edition thicker paper brown beige [library binding] 25.7 x 32.4 (2° [4°])); sung text English-French; 11 [9] pages + 2 pages front matter [front cover title in 12.7 x 18.9 in mirror-like ornamental frame; empty page] + 1 page back matter [empty page]; title heading as separate section with the title of the song in English and French and the author and translator specified centrally formatted and in the centre partly in italics 1st page of the score paginated p. 3 centre centred partly in italics >Spring. [#] La Novice. / The Cloister [#] Chanson de printemps / Words by S. Gorodetski. [#] Paroles de S. Gorodetski. / English words by M. D. Calvocoressi. [#] Paroles françaises de M. D. Calvocoressi. [#] Music by I. STRAVINSKY. [#] Op. 6. No1. [#] Musique de I. Strawinsky.<; legal reservations 1st page of the score below title head centre underlined >Aufführungsrecht vorbehalten.< below type area flush left >Propriété de l’éditeur<; plate number >36199<; production indication 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou.<; end of score dated p. 11 >Oustiloug. 1908.<; without end mark) // (1922)

° There is a decorative, vertical separating line and a 4.5 cm and 2.2 cm ornament centred below.
* The number statement has moved to the left between the French and English texts with a right-facing bracket that spans both lines.
** Fill character (dotted line).
*** A continuous, vertical line spanning more than three lines.

4–8 [unidentified; s. 4–7].

4–9 Igor Stravinsky / Two Songs / Op. 6 / Words by S. Gorodetzky / * No. 1. Spring (La Novice) / No. 2. A Song of the Dew (La Rosée Sainte) / Boosey & Hawkes // Igor Stravinsky / Two Songs / Op. 6 / Words by S. Gorodetzky / * No. 1. Spring (La Novice) / No. 2. A Song of the Dew (La Rosée Sainte) / Boosey & Hawkes / Music Publishers Limited / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // // (Edition 23.5 x 31 (4° [4°]); sung text English-French; 11 [8] pages + cover thicker paper red on green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data No. 40 [#] 7.65] without front matter, without back matter; without dedication; author specified 1st page of the score [S. 3] below Titel flush left-flush right Words by S. Gorodetski. [#] Paroles de S. Gorodetski. / English words by M. D. Calvocoressi. [#] Paroles françaises de M. D.Calvocoressi flush left-centre centred-flush right Music by I. STRAVINSKY. [#] Op. 6 No 1. [#] Musique de I. Strawinsky.; legal reservation 1908 by Rob. Forberg, Leipzig. / Copyright assigned 1953 to Boosey & Hawkes Ltd., for all countries.; legal reservations Aufführungsrecht vorbehalten and All rights reserved / Tonsättning forbjüdes; plate number: B. & H. 19645; end mark 3.68.E.; end of score dated Oustiloug 1907; gedruckt in England Printed in England) // (1968)

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].

4–10 Igor Stravinsky / Two Songs / Op. 6 / Words by S. Gorodetzky / No. 1. Spring (La Novice) / * No. 2. A Song of the Dew (La Rosée Sainte) / Boosey & Hawkes // Igor Stravinsky / Two Songs / Op. 6 / Words by S. Gorodetzky / No. 1. Spring (La Novice) / * No. 2. A Song of the Dew (La Rosée Sainte) / Boosey & Hawkes / Music Publishers Limited / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Edition 23.5 x 31 (4° [4°]); sung text English-French; 9 [7] pages + cover thicker paper red on green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data No. 40 [#] 7.65] + 1 page front matter [empty page] without back matter; dedication A Mr Serge Gorodetsky; author specified 1st page of the score [p. 2] below Titel flush left-flush right Words by S. Gorodetski. [#] Paroles de S. Gorodetski. / English words by M. D. Calvocoressi. [#] Paroles françaisss de M. D.Calvocoressi flush left-centre centred-flush right Music by I. STRAVINSKY. [#] Op. 6 No 2. [#] Musique de I. Strawinsky.; legal reservation 1908 by Rob. Forberg, Leipzig. / Copyright assigned 1953 to Boosey & Hawkes Ltd., for all countries.; legal reservations Aufführungsrecht vorbehalten and All rights reserved / Tonsättning forbjüdes; plate number: B. & H. 19646; without end mark; end of score dated Oustiloug 1908; gedruckt in England Printed in England) // (1968)

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].

4–11 Igor Stravinsky / Zwei Gesänge / Op. 6 / Worte von S. Gorodetzky / C Nr. 1 Die Novize (Весна) / Nr. 2 Der Heilige Tau (Росянка) / Boosey & Hawkes // Igor Stravinsky / Zwei Gesänge / Op. 6 / Worte von S. Gorodetzky / C Nr. 1 Die Novize (Весна) / Nr. 2 Der Heilige Tau (Росянка) / Boosey & Hawkes / Music Publishers Limited / London Paris Bonn Johannesburg Sydney Toronto New York // (Edition [library binding] clipped 22.8 x 30 (4° [Lex. 8° / 4°]); sung text Russian-German; 9 [9] pages + 4 cover pages thicker paper tomato red on grey green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<] + 1 page front matter [title page] + 1 page back matter [empty page]; title head as song title Russian-German in connection with author specified and with opus numbering 1st page of the score paginated p. 1 centre centred >Весна< [#] >Die Novize.< / >(МонАСтЫРСкАЯ).< [#] / >(LENZLIED).< / >Слова С. Городецкаго.< [#] >Worte von S. Gorodezky.< / >Музыка И. СтрАвинскАго.< [#] >Op. 6. No 1.< [#] >Musik von I. STRAWINSKY.<; dedication above title head centre italic >Елизаветю Феодоровню Петренко.<; translator specified 1st page of the score below title head flush left italic >Uebersetzung von M.-D. Calvocoressi.<; legal reservations 1st page of the score below title head next to translator specified centre underlined >Aufführungsrecht vorbehalten.< below type area flush left >Copyright 1908 by Rob. Forberg, Leipzig. / Copyright assigned 1953 to Boosey & Hawkes Ltd., for all countries.< flush right >All rights reserved / Tonsättning forbjüdes<; plate number >B. & H. 19647<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; end of score dated p. 9 >Oustiloug 1907.<; without end mark) // [1968]

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].

4–12 Igor Stravinsky / Zwei Gesänge / Op. 6 / Worte von S. Gorodetzky / Nr. 1 Die Novize (Весна) / C Nr. 2 Der Heilige Tau (Росянка) / Boosey & Hawkes // Igor Stravinsky / Zwei Gesänge / Op. 6 / Worte von S. Gorodetzky / Nr. 1 Die Novize (Весна) / C Nr. 2 Der Heilige Tau (Росянка) / Boosey & Hawkes / Music Publishers Limited / London Paris Bonn Johannesburg Sydney Toronto New York // (Edition [library binding] clipped 22.8 x 30 (4° [Lex. 8 / 4°]); sung text Russian-German; 7 [7] pages + 4 cover pages thicker paper tomato red on grey green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<] + 1 page front matter [title page] + 1 page back matter [empty page]; title head as song title Russian-German in connection with author specified and with opus numbering 1st page of the score paginated p. 1 centre centred >Росянка< [#] >Der heilige Tau.< / >(МонАСтЫРСкАЯ).< [#] >(GESANG DER GEISSEL-BRUDER)°.< / >Слова С. Городецкаго.< [#] >Worte von S. Gorodezky.< / >Музыка И. СтрАвинскАго.< [#] >Op. 6. No 2.< [#] >Musik von I. STRAWINSKY.<; dedication above title head centre italic >Елизаветю Феодоровню Петренко.<; translator specified 1st page of the score below title head flush left italic >Uebersetzung von M.-D. Calvocoressi.<; legal reservations 1st page of the score below title head next to translator specified centre underlined >Aufführungsrecht vorbehalten.< below type area flush left >Copyright 1908 by Rob. Forberg, Leipzig. / Copyright assigned 1953 to Boosey & Hawkes Ltd., for all countries.< flush right >All rights reserved / Tonsättning forbjüdes<; plate number >B. & H. 19648<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; end of score dated p. 7 >Oustiloug 1908.<; without end mark) // [1968]

° Original spelling; correct: >GEISSEL-BRÜDER<.
* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].


K Cat­a­log: Anno­tated Cat­a­log of Works and Work Edi­tions of Igor Straw­in­sky till 1971, revised version 2014 and ongoing, by Hel­mut Kirch­meyer.
© Hel­mut Kirch­meyer. All rights reserved.
https://kcatalog.org and https://kcatalog.net

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